Music Portal
Music is a form of art that involves organized and audible sounds and silence. It is commonly expressed in terms of pitch (which includes melody and harmony), rhythm (which includes tempo and meter), and the capability of sound (which includes timbre, articulation, dynamics, and texture). Music may also involve complicated generative forms in time straight through the building of patterns and combinations of natural stimuli, principally sound. Music may be used for artistic or aesthetic, communicative, entertainment, or ceremonial purposes. The definition of what constitutes music varies agreeing to culture and social context.
Acoustic Insect Killer
If painting can be viewed as a optical art form, music can be viewed as an auditory art form.
Allegory of Music, by Filippino Lippi
Allegory of Music, by Lorenzo Lippi
Contents
1 Definition
2 History
3 Aspects
4 production 4.1 Performance
4.2 Solo and ensemble
4.3 Oral tradition and notation
4.4 Improvisation, interpretation, composition
4.5 Composition
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[edit] Definition as seen by [http://www.FaceYourArt.com]
Main article: Definition of music
See also: Music genre
The broadest definition of music is organized sound. There are observable patterns to what is broadly labeled music, and while there are understandable cultural variations, the properties of music are the properties of sound as perceived and processed by humans and animals (birds and insects also make music).
Music is formulated or organized sound. Although it cannot consist of emotions, it is sometimes designed to manipulate and transform the emotion of the listener/listeners. Music created for movies is a good example of its use to manipulate emotions.
Greek philosophers and medieval theorists defined music as tones ordered horizontally as melodies, and vertically as harmonies. Music theory, within this realm, is studied with the pre-supposition that music is orderly and often pleasant to hear. However, in the 20th century, composers challenged the concept that music had to be pleasant by creating music that explored harsher, darker timbres. The existence of some modern-day genres such as grindcore and noise music, which enjoy an farranging incommunicable following, indicate that even the crudest noises can be determined music if the listener is so inclined.
20th century composer John Cage disagreed with the concept that music must consist of pleasant, discernible melodies, and he challenged the concept that it can reveal anything. Instead, he argued that any sounds we can hear can be music, saying, for example, "There is no noise, only sound,"[3]. agreeing to musicologist Jean-Jacques Nattiez (1990 p.47-8,55): "The border in the middle of music and noise is always culturally defined--which implies that, even within a singular society, this border does not always pass straight through the same place; in short, there is rarely a consensus.... By all accounts there is no singular and intercultural universal concept defining what music might be."
Johann Wolfgang Goethe believed that patterns and forms were the basis of music; he stated that "architecture is frozen music."
[edit] History as seen by [http://www.FaceYourArt.com]
Main article: History of music
See also: Music and politics
Figurines playing stringed instruments, excavated at Susa, 3rd millennium Bc. Iran National Museum.
The history of music predates the written word and is tied to the improvement of each unique human culture. Although the earliest records of musical expression are to be found in the Sama Veda of India and in 4,000 year old cuneiform from Ur, most of our written records and studies deal with the history of music in Western civilization. This includes musical periods such as medieval, renaissance, baroque, classical, romantic, and 20th century era music. The history of music in other cultures has also been documented to some degree, and the knowledge of "world music" (or the field of "ethnomusicology") has come to be more and more sought after in schoraly circles. This includes the documented classical traditions of Asian countries surface the affect of western Europe, as well as the folk or indigenous music of varied other cultures. (The term world music has been applied to a wide range of music made surface of Europe and European influence, although its preliminary application, in the context of the World Music agenda at Wesleyan University, was as a term along with all possible music genres, along with European traditions. In schoraly circles, the primary term for the study of world music, "comparative musicology", was replaced in the middle of the twentieth century by "ethnomusicology", which is still determined an unsatisfactory coinage by some.)
Popular styles of music varied widely from culture to culture, and from duration to period. Different cultures emphasised Different instruments, or techniques, or uses for music. Music has been used not only for entertainment, for ceremonies, and for practical & artistic communication, but also extensively for propaganda.
As world cultures have come into greater contact, their indigenous musical styles have often merged into new styles. For example, the United States bluegrass style contains elements from Anglo-Irish, Scottish, Irish, German and some African-American instrumental and vocal traditions, which were able to fuse in the Us' multi-ethnic "melting pot" society.
There is a host of music classifications, many of which are caught up in the seminar over the definition of music. Among the largest of these is the agency in the middle of classical music (or "art" music), and beloved music (or industrial music - along with rock and roll, country music, and pop music). Some genres don't fit neatly into one of these "big two" classifications, (such as folk music, world music, or jazz music).
Genres of music are determined as much by tradition and presentation as by the actual music. While most classical music is acoustic and meant to be performed by individuals or groups, many works described as "classical" consist of samples or tape, or are mechanical. Some works, like Gershwin's Rhapsody in Blue, are claimed by both jazz and classical music. Many current music festivals celebrate a singular musical genre.
There is often discrepancy over what constitutes "real" music: late-period Beethoven string quartets, Stravinsky ballet scores, serialism, bebop-era Jazz, rap, punk rock, and electronica have all been determined non-music by some critics when they were first introduced.
[edit] Aspects as seen by [http://www.FaceYourArt.com]
Main article: Aspects of music
The primary or classical European aspects of music often listed are those elements given primacy in European-influenced classical music: melody, harmony, rhythm, tone color or timbre, and form. A more farranging list is given by stating the aspects of sound: pitch, timbre, loudness, and duration.[1] These aspects combine to generate secondary aspects along with structure, texture and style. Other commonly included aspects consist of the spatial location or the movement in space of sounds, gesture, and dance. Silence has long been determined an aspect of music, fluctuating from the dramatic pauses in Romantic-era symphonies to the avant-garde use of silence as an artistic statement in 20th century works such as John Cage's 4'33."John Cage considers duration the primary aspect of music because it is the only aspect coarse to both "sound" and "silence."
As mentioned above, not only do the aspects included as music vary, their point varies. For instance, melody and harmony are often determined to be given more point in classical music at the cost of rhythm and timbre. It is often debated either there are aspects of music that are universal. The turn over often hinges on definitions. For instance, the fairly coarse assertion that "tonality" is universal to all music requires an gigantic definition of tonality.
A pulse is sometimes taken as a universal, yet there exist solo vocal and instrumental genres with free, improvisational rhythms with no regular pulse;[2] one example is the alap section of a Hindustani music performance. agreeing to Dane Harwood, "We must ask either a cross-cultural musical universal is to be found in the music itself (either its buildings or function) or the way in which music is made. By 'music-making,' I intend not only actual performance but also how music is heard, understood, even learned." [3]
[edit] Production
Main article: Music industry
Music is composed and performed for many purposes, fluctuating from aesthetic pleasure, religious or ceremonial purposes, or as an entertainment product for the marketplace. Amateur musicians institute and perform music for their own pleasure, and they do not effort to get their revenue from music. Expert musicians are employed by a range of institutions and organizations, along with armed forces, churches and synagogues, symphony orchestras, broadcasting or film production companies, and music schools. As well, Expert musicians work as freelancers, seeking contracts and engagements in a range of settings.
Although amateur musicians differ from Expert musicians in that amateur musicians have a non-musical source of income, there are often many links in the middle of amateur and Expert musicians. Beginning amateur musicians take lessons with Expert musicians. In society settings, advanced amateur musicians perform with Expert musicians in a range of ensembles and orchestras. In some rare cases, amateur musicians attain a Expert level of competence, and they are able to perform in Expert performance settings.
A discrepancy is often made in the middle of music performed for the advantage of a live audience and music that is performed for the purpose of being recorded and distributed straight through the music retail theory or the broadcasting system. However, there are also many cases where a live performance in front of an audience is recorded and distributed (or broadcast).
[edit] Performance
Main article: Performance
Chinese Naxi musicians
Someone who performs, composes, or conducts music is a musician. Musicians perform music for a range of reasons. Some artists express their feelings in music. Performing music is an enjoyable performance for amateur and Expert musicians, and it is often done for the advantage of an audience, who is deriving some aesthetic, social, religious, or ceremonial value from the performance. Part of the motivation for Expert performers is that they get their revenue from making music. Not only is it an revenue derived motivation, music has come to be a part of life as well as society. Allowing one to be motivated straight through self intrinsic motivations as well, as a saying goes "for the love of music." As well, music is performed in the context of practicing, as a way of developing musical skills.
[edit] Solo and ensemble
Many cultures consist of strong traditions of solo or soloistic performance, such as in Indian classical music, and in the Western Art music tradition. Other cultures, such as in Bali, consist of strong traditions of group performance. All cultures consist of a composition of both, and performance may range from improvised solo playing for one's enjoyment to highly planned and organized performance rituals such as the modern classical concert or religious processions.
Chamber music, which is music for a small ensemble with no more than one of each type of instrument, is often seen as more intimate than symphonic works. A performer is called a musician or singer, and they may be part of a musical ensemble such as a rock band or symphony orchestra.
[edit] Oral tradition and notation
Main article: Musical notation
Musical notation
Music is often preserved in memory and performance only, handed down orally, or aurally ("by ear"). When the composer of music is no longer known, this music is often classified as "traditional". Different musical traditions have Different attitudes towards how and where to make changes to the primary source material, from quite strict, to those which question improvisation or modification to the music. In the Gambia, West Africa, the history of the country is passed aurally straight through song.
When music is written down, it is commonly notated so that there are instructions concerning what should be heard by listeners, and what the musician should do to perform the music. This is referred to as musical notation, and the study of how to read notation involves music theory, harmony, the study of performance practice, and in some cases an comprehension of historical performance methods.
Written notation varies with style and duration of music. In Western Art music, the most coarse types of written notation are scores, which consist of all the music parts of an ensemble piece, and parts, which are the music notation for the private performers or singers. In beloved music, jazz, and blues, the approved musical notation is the lead sheet, which notates the melody, chords, lyrics (if it is a vocal piece), and buildings of the music. Nonetheless, scores and parts are also used in beloved music and jazz, particularly in large ensembles such as jazz "big bands."
In beloved music, guitarists and galvanic bass players often read music notated in tablature, which indicates the location of the notes to be played on the instrument using a diagram of the guitar or bass fingerboard. Tabulature was also used in the Baroque era to notate music for the lute, a stringed, fretted instrument.
Generally music which is to be performed is produced as sheet music. To perform music from notation requires an comprehension of both the musical style and the performance practice that is associated with a piece of music or genre. The detail included explicitly in the music notation varies in the middle of genres and historical periods. In general, art music notation from the 17th straight through to the 19th century required performers to have a great deal of contextual knowledge about performing styles.
For example, in the 17th and 18th century, music notated for solo performers typically indicated a simple, unornamented melody. However, it was unbelievable that performers would know how to add stylistically-appropriate ornaments such as trills and turns.
In the 19th century, art music for solo performers may give a general instruction such as to perform the music expressively, without describing in detail how the performer should do this. It was unbelievable that the performer would know how to use tempo changes, accentuation, and pauses (among other devices) to get this "expressive" performance style.
In the 20th century, art music notation often became more explicit, and used a range of markings and annotations to indicate to performers how they should play or sing the piece. In beloved music and jazz, music notation roughly always indicates only the basic framework of the melody, harmony, or performance approach; musicians and singers are unbelievable to know the performance conventions and styles associated with specific genres and pieces.
For example, the "lead sheet" for a jazz tune may only indicate the melody and the chord changes. The performers in the jazz ensemble are unbelievable to know how to "flesh out" this basic buildings by adding ornaments, improvised music, and chordal accompaniment.
[edit] Improvisation, interpretation, composition
Main articles: Musical composition, Musical improvisation, and Free improvisation
Most cultures use at least part of the concept of preconceiving musical material, or composition, as held in western classical music. Even when music is notated precisely, there are still many decisions that a performer has to make. The process of a performer deciding how to perform music that has been previously composed and notated is termed interpretation.
Different performers' interpretations of the same music can vary widely. Composers and song writers who gift their own music are interpreting, just as much as those who perform the music of others or folk music. The approved body of choices and techniques gift at a given time and a given place is referred to as performance practice, where as interpretation is commonly used to mean either private choices of a performer, or an aspect of music which is not clear, and therefore has a "standard" interpretation.
In some musical genres, such as jazz and blues, even more freedom is given to the performer to engage in improvisation on a basic melodic, harmonic, or rhythmic framework. The greatest latitude is given to the performer in a style of performing called free improvisation, which is material that is artlessly "thought of" (imagined) while being performed, not preconceived. agreeing to the analysis of Georgiana Costescu, improvised music commonly follows stylistic or genre conventions and even "fully composed" includes some freely chosen material (see precompositional). composition does not always mean the use of notation, or the known sole authorship of one individual.
Music can also be determined by describing a "process" which may generate musical sounds, examples of this range from wind chimes, straight through computer programs which agree sounds. Music which contains elements prime by occasion is called Aleatoric music, and is often associated with John Cage and Witold Lutosławski.
[edit] Composition
Musical composition is a term that describes the composition of a piece of music. Methods of composition vary widely from one composer to another, any way in analyzing music all forms -- spontaneous, trained, or untrained -- are built from elements comprising a musical piece. Music can be composed for repeated performance or it can be improvised; composed on the spot. The music can be performed entirely from memory, from a written theory of musical notation, or some composition of both. Study of composition has traditionally been dominated by test of methods and practice of Western classical music, but the definition of composition is broad enough to consist of artlessly improvised works like those of free jazz performers and African drummers.
What is leading in comprehension the composition of a piece is singling out its elements. An comprehension of music's formal elements can be helpful in deciphering exactly how a piece is constructed. A universal element of music is how sounds occur in time, which is referred to as the rhythm of a piece of music.
When a piece appears to have a changing time-feel, it is determined to be in rubato time, an Italian expression that indicates that the tempo of the piece changes to suit the expressive intent of the performer. Even random placement of random sounds, which occurs in musical montage, occurs within some kind of time, and thus employs time as a musical element.
[edit] Reception and audition as seen by FaceYourArt.com
Main article: Hearing (sense)
Concert in the Mozarteum, Salzburg
The field of music cognition involves the study of many aspects of music along with how it is processed by listeners.
Music is experienced by individuals in a range of social settings fluctuating from being alone to attending a large concert. Musical performances take Different forms in Different cultures and socioeconomic milieus. In Europe and North America, there is often a divide in the middle of what types of music are viewed as a "high culture" and "low culture." "High culture" types of music typically consist of Western art music such as Baroque, Classical, Romantic, and modern-era symphonies, concertos, and solo works, and are typically heard in formal concerts in concert halls and churches, with the audience sitting quietly in seats.
On the other hand, other types of music such as jazz, blues, soul, and country are often performed in bars, nightclubs, and theatres, where the audience may be able to drink, dance, and express themselves by cheering. Until the later 20th century, the agency in the middle of "high" and "low" musical forms was widely approved as a valid discrepancy that separated out better quality, more advanced "art music" from the beloved styles of music heard in bars and dance halls.
However, in the 1980s and 1990s, musicologists learning this perceived divide in the middle of "high" and "low" musical genres argued that this discrepancy is not based on the musical value or capability of the Different types of music. Rather, they argued that this discrepancy was based largely on the socioeconomic standing or social class of the performers or audience of the Different types of music.
For example, whereas the audience for Classical symphony concerts typically have above-average incomes, the audience for a hip-hop concert in an inner-city area may have below-average incomes. Even though the performers, audience, or venue where non-"art" music is performed may have a lower socioeconomic status, the music that is performed, such as blues, hip-hop, punk, funk, or ska may be very complicated and sophisticated.
Deaf people can feel music by feeling the vibrations in their body, a process which can be enhanced if the private holds a resonant, hollow object. A well-known deaf musician is the composer Ludwig van Beethoven, who composed many celebrated works even after he had thoroughly lost his hearing. Up-to-date examples of deaf musicians consist of Evelyn Glennie, a highly acclaimed percussionist who has been deaf since the age of twelve, and Chris Buck, a virtuoso violinist who has lost his hearing.
Further information: psychoacoustics
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